When a drawing or painting is made onto a surface that allows it to be transfered to another surface – it creates a monoprint. If the surface is flexible, for example a plastic sheet. It can be taken and transfered to another surface, maybe a gesso board, or a canvas, a wall or apiece of paper. Size or surface is not restricted as it would be if you needed to put it through a press. … The ‘why’ is for you to fathom.
I am going to use just my hand pressure to transfer the marks I make. The perspex and plastic could also be put through a press if I wanted, but the glass can not.
I used a sponge to cover the plastic with an even covering of ink. And the roller to cover the glass.
The subject, a seashell that I had picked up from the shore at Arbroath. I particularly like this object because it is not complete. Its sides are eroded to reveal the inner structure.
I am not using the press for these pieces so the process is entirely possible without big investment equipment. But it helps to have soaked paper – it aids the transfer and better absorbs some of the detail. If it too damp/ wet it creats havoc. Just like watercolours. The dryer the paper the more control and detail possible. But if the ink and paper are too dry you might get nothing shifting. And More damp allows unpredictable, exciting effects and sometimes complete chaos.
It is always a reverse image and that is generally unforgiving of an unbalanced work. (And certainly not suitable for famous city skylines) . But I never tire of what the mono print/ transfered mark does to a painting. It arbitrarily changes details and offers unexpected gifts, the smudges and accidental changes occur through the process. Sometimes magical and delightful – and sometimes rubbish, nothing, absolutely nothing at all.
This time of restrained activity has the potential of positivity and good working practuce. But as always that requires self diciplin. It so easy to be diverted on a mild windless day by the garden . There are so many enjoyable jobs to do out there. That is not to say I don’t thoroughly appreciate and enjoy working in the studio… I love being in there, drawing painting, preparing – but the affair is complicated. It needs my full attention, it is demanding and rewarding, frustrating and anxious – whereas the garden is a much easier friend.
This could be a time to turn a difficult situation into time positive.
Time to practice things we say we wish to improve… But never find the time.
Maybe sketching using different materials. The same view or objects over and over. Observing more and translating it differently – being led by the varying qualities of the medium. Wet or dry, sharp detail or soft suggestion, full colour, black and white or monochrome.
We started with drawing. Working toward a good composition that could be translated into watercolour painting.
The drawings were really engaging and most people worked on longer than I expected. Starting with a linear composition and adding three tones of shading. Looking for areas of close subtle tones and also counterchange. Light against dark to dark against light drama and contrast.
It was a really enjoyable lesson. The most difficult part, translating the sketches to the watercolour paper was achieved well in most cases.
The progress quite visible. Stiil maintaining good flat and graduated washes. Wet in wet. All that as well as more complex subjects and composition. They did well. (And had a good time.)
Watercolour terms such as Wet in wet, wax resist, transparent, Opaque or body colour, make the language that is specific to its subject – and can sound pretentious and rather inpenetrable. But like all language that is specific – it is actualy pure and discriptive and really essential to describe the activity, if you have the interest.
Over the last two weeks we have covered these basic watercolour techniques and this week we pulled them together with the help of some cheerfully coloured tulips.
Good practice, lots of clean water. Fresh unfussy colours.
All three classes this week responded well to the brief.
My challenge is to maintain and even raise the level next week.
Classes have started again at Mill Farm studio. A new year and a fresh look at familiar techniques.
Graduated washes. , I believe to be one of the hardest watercour techniques. The need to control the ratio of paint to water, while using the right sized brush for the scale of aplication. Keeping an effortless look to the work while carefully reacting to what is happening.
Some colour pigments flow more evenly. Lighter toned colours are easier to graduate than dark, some colours stain and are unforgiving of any error. But no blood is spilt, only dirty water.
We practiced painting flat washes and then adding water to the pool of colour to lighten the tone. The lightest colours can be so delicious. But a fear of being wishy washy, too pale: or even insipid, often leads to them being lost to a desire for bold, bright and eye catching.
By layering the palest of tones it is possible to build up to richer colours and greater detail. Starting with washes that underpin and unify the picture, the image can be developed and detailed while remaining connected, cohesive and convincing.
Walking in the landscape most every day. Watching for the small changes that signal the next season. A few Aconites have pushed through a debris of leaves and snowdrops show a slit of white at the spear head of the stem.
Sketching outside is where I feel most connected. To the landscape, nature, to the elements of weather and most importantly to the drawing. I went out on Sunday to Breamar ( and beyond) with painting buddy Sarah. It was cool – but we found a couple of spots to sit out and draw the hills and river valley.
We always had the intention to visit the Fife Arms and it was a wonderful place to warm up, restoring body and soul. It is tartan, gothic Scottish, ancient and modern. Brimming with stuffed birds and antlers. And Picasso, Freud and Louise holding court.
The food was fab and worth every penny. A destination to lift the spirits.